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------Please tell us about the REBORN series, which was the main subject of MOVE, and I would like to ask you about the unchanged and changed aspects of REBORN production, as well as your current approach to REBORN.

The unchanging aspect is the basic concept of REBORN, which is to express the image of rebirth and cell division through the evolution and change of people's thoughts and the environment. This is absolutely important in the expression of the concept, but what has changed is the production process.

In order to make REBORN a deeper work, I was conscious of the need for the work itself to evolve as the title implies, to be reborn or to evolve.

This means to give the work a consciousness of "the accumulation of time.

Until now, I had the image of a single shot, putting a moment's life into a creation of work, but I added to that a consciousness of the layering of time and re-examined the process.

This gave the textures a slightly different feel, depth, and on-screen depth from before, which was also an evolution in the production process.

------Your future works will be based on this even more.

Yes, I my future works will be more deep conscious than before.

As for my next work to be exhibited at "Art Miami," from the time I started painting REBORN until now, I had a big image of "blue cells dividing," and I had been placing great importance on using "colors called blue," but I have become conscious of the "blue world" rather than blue colors. I have the feeling that I have thought again about what I have been saying about red, white, and yellow being "concepts" that are part of the blue world.

Some works are expressed without using any "color called blue.” I wonder, if adding the expression of cell division and a consciousness of the passage of time to each of these works, is a new evolution. I feel that my works are changing.

------Reflecting the new concept of the blue world, with the added consciousness of "accumulating time,” I feel that the current REBORN is definitely evolving.

That is how I feel. However, it is important for me to make sure that the viewers of my works understand what I am expressing. It must be conveyed to the viewer.

I think it is very important that the viewer can see that the work is evolving, that it is changing for the better, rather than just saying, "It's evolving," as a self-satisfaction.

I am conscious of the need to create a work that can be understood, and that above can be felt.

------Yes, it is wonderful to see the reaction of people who have seen your work at MOVE, especially those who have seen your work before, who say, "Oh, something has changed.”


Yes, thankfully!

------Since our last interview, has your "concept of color" changed from then to now?

I have also developed a feeling to remove some of my fixation on the color called blue. I will continue to make blue works as usual, but at the same time, I would like to make something that deviates from that.

------A parallel production. I am really looking forward to your works without blue, as I think the core and the basics are equally yours.

My blue was the color of my first memory, the color of my mother's womb, and it was the color of my core, the color that had been enveloping me, that had been in my world, that had existed around me and enveloped me. And now there was a shift in my mind that from now on, I am enveloping, and I am part of the world that I am creating.

------You yourself are now changing into a color to envelope.

Yes, and a color I emit from myself.

------I don't know if it is correct to say "more colors", but is there a possibility that this will happen?

Well, it may be a different color than before, or it may be simpler, or it may use more colors, I think it will change from time to time.

------There are many moments of change, but in that sense, you are in a transitional period right now?

Yes, I think so! For example, all of the works in S30 (91 x 91 cm), which will be exhibited at the upcoming Art Miami, are blue, but they are more carefully selected blues. I wanted to create a nerve-like REBORN. I wanted to create a tingling, tugging, and such kind of gradation of. In that sense, the timing of the start of the production of the work for Art Miami was the time when the concept of color changed a little.

------You are consistently conscious not to stop thinking.


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